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Now a man of nearly seventy, Signorelli's energies seemed to grow greater with increasing age, for in 1508 we find him, besides being elected to his usual offices, deputed as ambassador to Florence, to demand there permission to reform the offices and ordinances of Cortona, and in the same year he was at Rome, together with Perugino, Pintorricchio, and Sodoma, working at the decoration of the Vatican Chambers, already begun by Pier dei Franceschi.
Much time has been spent in the vain search for documents relating to Signorelli's supposed visit, in 1484, to Rome, where, it is said, he was summoned to paint, with Perugino, Pintorricchio, Botticelli, and Cosimo Rosselli, the walls of the Sistine Chapel. Later criticism has perhaps accounted for the absence of such a record.
It must be remembered, moreover, in the case of Verrocchio, how much he himself owed to Donatello, while with respect to the asserted influence of Pintorricchio, it is more probable that what likeness there is in their style should testify to the impression of the stronger upon the weaker nature.
Of the two frescoes there, formerly attributed to him, it is now no longer doubted that one "The Journey of Moses and Zipporah" is by Pintorricchio, and the opinion is gradually gaining ground that the other "The Death of Moses" although much nearer to Signorelli's style, is not sufficiently so as to permit us to accept it as his work.
In the reprint of Cesariano's "Comments on Vitruvius," by G. B. Caporali. The passage is quoted in Vermiglioli's "Memorie di Pintorricchio" , pp. 5 and 6. Vasari, iv. 329.
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